"Listening to Litolff's music is an extraordinary
and surprising experience. There are times when Litolff is the equal of
Beethoven, other times when he is the equal of Liszt and especially times when
he is equal of Mendelssohn. Hard to credit, perhaps, but true as a hearing of
his First Piano Trio reveals."--The Chamber Music Journal

Henry Charles Litolff (1818-1891) was a keyboard
virtuoso and composer of Romantic music. Litolff was born in London, the son of
a Scottish mother and an Alsatian father. His father was a violinist who had
been taken to London as a prisoner after being captured while fighting for
Napoleon. Litolff's first music lessons were with his
father, but when he was twelve he played for the famous pianist Ignaz Moscheles,
who was so impressed that he taught the boy without charge. (Moscheles had also
taught Mendelssohn) Litolff's promise was indeed realized, and he enjoyed a very
successful concert career throughout Europe, and was widely considered one of the
leading pianists of his time. Liszt was so deeply impressed by Litolff's talent
that he dedicated his first Piano Concerto to him. The two were good friends.
Besides performing, Litolff also taught. Among his many students was the famous
Wagner protégé and conductor, Hans von Bülow. He founded the well-known
publishing house of Litolff Editions. His most
notable works were his four piano concerti "Concerto Symphoniques" and his three piano trios.

Piano Trio No.1 dates from 1847 and is in four
movements. The massive opening Allegro begins with a somber introduction
before the powerful main theme is advanced. A lengthy, complex development a la
Liszt finally leads to the gorgeous second theme. The slow movement is an
Andante, which features a simple, choral melody. At first, the piano and the
strings alternate with each other in presenting the thematic material, but as dramatic
tension is slowly built, all three join forces. The thrusting Beethovian main
theme of the Scherzo which follows brooks no delay as it rushes forward
with its boundless energy. The finale, Presto, is a contest between two
contrasting themes, one ebullient and playful, the other lyrical and romantic.

Litolff's firm published this trio in 1848 without
rehearsal letters. Perhaps he did not need them. Subsequent reprints omitted
them as well. We, however, have added rehearsal letters to our reprint.
Unavailable for at least half a century, we are pleased to reintroduce a trio
that is a tour d'force by any standard.